Professional Documents
Culture Documents
Department of Education
DepEd Complex, Meralco Avenue
Pasig City
K to 12 Curriculum Guide
MUSIC
(Grade 1 to Grade 10)
May 2016
K to 12 BASIC EDUCATION CURRICULUM
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and cultural
literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-based
learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own
cultural identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-
Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the N ational Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based
Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time.
The global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of
purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music is
expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit, and has
great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this characteristic
as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be developed.
The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the
application of the learner’s knowledge should be encouraged, through active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the SPIRAL,
MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thought about contemporary general education.
We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her
national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.
-creating)
(including movement)
from K to 3
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
K-3 4-6 7 – 10
The learner demonstrates The learner demonstrates understanding The learner demonstrates understanding
understanding of fundamental of basic elements and concepts through of salient features of music and art of
processes through performing, creating, and responding, the Philippines and the world, through
performing, creating, and responding, aimed towards the development of appreciation, analysis, and performance,
aimed towards the development of appreciation of music and art, and for self-development, the celebration of
appreciation of music and art, and acquisition of basic knowledge and skills. Filipino cultural identity and diversity,
acquisition of basic knowledge and and the expansion of one’s world vision.
skills.
Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.
Grade 1 The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
responding.
Grade 2 The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
and responding.
Grade 3 The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Grade 4 Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Grade 5 Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Grade 6 Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Grade 7 The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
Grade 8 The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Grade 9 The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Grade 10 The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self-
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
THIRD QUARTER
IV. TIMBRE demonstrates distinguishes accurately the 1. identifies the source of Pilot School MTB-
understanding of the basic different sources of sounds sounds MLE
1. Quality of Sound in concepts of timbre heard and be able to 1.1 wind, wave, swaying of the Music, Arts, Physical
Music produce a variety of timbres trees, animal sounds, MU1TB-IIIa-1
Education and
2. Distinction Between sounds produced by
Health 2.Illagan,
Speaking and Singing machines, transportation, Amelia M. et.al,
through body movements 2013 pp.97-102
2. responds appropriately to MU1TB-IIIa-2 Pilot School MTB-
differences in sounds heard MLE
through body movement
3. replicates the sounds heard Pilot School MTB-
from different sources MLE
MU1TB-IIIb-3 Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.103-106
4. uses voice and other MU1TB-IIIb-4 Pilot School MTB-
sources of sound to produce MLE
a variety of timbres
V. DYNAMICS demonstrates creatively interprets with 5. demonstrates dynamic MU1DY-IIIc-1 Pilot School MTB-
understanding of the basic body movements the changes with movements MLE
1. Volume of Sound in concepts of dynamics dynamic levels to enhance 6. uses the terms loud and soft MU1DY-IIIc-2 Pilot School MTB-
Music poetry, chants, drama, and to identify volume changes MLE
2. Distinction Between musical stories 7. relates the concepts of Pilot School MTB-
Loudness and dynamics to the movements MLE
Softness in Music of animals Music, Arts, Physical
7.1 elephant walk – loud MU1DY-IIId-3
Education and
7.2 tiny steps of a mouse –
Health 2.Illagan,
soft Amelia M. et.al,
2013 pp.132-134
8. interprets with body Pilot School MTB-
movements the dynamics of MU1DY-IIIe-f-4 MLE
a song Music, Arts, Physical
K to 12 Music Curriculum Guide May 2016 Page 12of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
V. DYNAMICS demonstrates creatively interprets with 8.1 small movement – soft Education and
understanding of the basic body movements the 8.2 big movement –loud Health 2.Illagan,
1. Volume of Sound in concepts of dynamics dynamic levels to enhance Amelia M. et.al,
Music poetry, chants, drama, and 2013 pp.132-134
2. Distinction Between musical stories 9. applies the concepts of Pilot School MTB-
dynamic levels to enhance MLE
Loudness and Softness in
Music poetry, chants, drama, and MU1DY-IIIg-h-
musical stories 5
9.1 small movement – soft
9.2 big movement – loud
FOURTH QUARTER
VI. TEMPO demonstrates performs with accuracy 1. mimics animal movements Pilot School MTB-
understanding of the basic varied tempi through 1.1 horse – fast MLE
1. Speed of Sound In concepts of tempo movements or dance steps 1.2 carabao – slow MU1TP-IVa-1 Music, Arts, Physical
Music to enhance poetry, chants, Education and
Health 2.Illagan,
2. Distinction Between drama, and musical stories Amelia M. et.al,
Fastness and Slowness 2013 pp.143-145
in Music 2. demonstrates the basic Pilot School MTB-
concepts of tempo through MLE
movements MU1TP-IVa-2 Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.137-140
3. responds to varied tempo Pilot School MTB-
with movements or dance MLE
steps Music, Arts, Physical
3.1 slow movement with slow MU1TP-IVb-3
Education and
music
Health 2.Illagan,
3.2 fast movement with fast Amelia M. et.al,
music 2013 pp.137-140
4. relates tempo changes to MU1TP-IVb-4 Pilot School MTB-
movements MLE
5. uses varied tempo to Pilot School MTB-
enhance poetry, chants, MU1TP-IVc-5 MLE
drama, and musical stories
K to 12 Music Curriculum Guide May 2016 Page 13of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
VII. TEXTURE demonstrates sings songs to involve 6. identify sounds alone, sounds MU1TX-IVd-1 Pilot School MTB-
understanding of the basic oneself and experience the together MLE
1. Distinction Between concepts of texture concept of texture 7. demonstrates awareness of Pilot School MTB-
Thinness and texture by using visual MLE
Thickness in Music images Music, Arts, Physical
2. Single Melodic Line or MU1TX-IVe-2
Education and
Simultaneous
Health 2.Illagan,
Occurrence of Multiple Amelia M. et.al,
Melodic Lines 2013 pp.154-159
8. distinguishes accurately Pilot School MTB-
between single musical line MLE
and multiple musical lines Music, Arts, Physical
which occur simultaneously MU1TX-IVf-3
Education and
in a given song
Health 2.Illagan,
Amelia M. et.al,
2013 pp.160-162
9. demonstrates the concept of Pilot School MTB-
texture by singing two-part MLE
round MU1TX-IVg-h-4 Music, Arts, Physical
9.1 Are You Sleeping, Brother
Education and
John?
Health 2.Illagan,
9.2 Row, Row, Row Your Boat Amelia M. et.al,
2013 pp.160-162
SECOND QUARTER
II. MELODY demonstrates basic performs with accuracy of 1. identifies the pitch of tones as Pilot School MTB-
understanding of pitch and pitch, the simple melodic 1.1 high MLE
1. Pitch simple melodic patterns patterns through body 1.2 low Music, Arts, Physical
2. Simple Melodic movements, singing or 1.3 higher MU2ME-IIa-1
Education and
Patterns playing musical instruments 1.4 lower
Health 2.Illagan,
Amelia M. et.al,
2013 pp.39-42
2. responds to ranges of pitch Pilot School MTB-
through body movements, MU2ME-IIa-2 MLE
singing, and playing sources Music, Arts, Physical
of sounds
Education and
K to 12 Music Curriculum Guide May 2016 Page 16of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
II. MELODY demonstrates basic performs with accuracy of Health 2.Illagan,
understanding of pitch and pitch, the simple melodic Amelia M. et.al,
1. Pitch simple melodic patterns patterns through body 2013 pp.43-44
2. Simple Melodic movements, singing or 3. demonstrates high and low Pilot School MTB-
pitches through singing or MLE
Patterns playing musical instruments
playing musical instruments Music, Arts, Physical
MU2ME-IIb-3
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.42 -45, 47-
50
4. sings the following songs with Pilot School MTB-
accurate pitch: MLE
4.1 wrote songs Music, Arts, Physical
4.2 echo songs MU2ME-IIb-4
Education and
4.3 simple children’s melodies
Health 2.Illagan,
Amelia M. et.al,
2013 pp.52-55
5. echoes simple melodic Pilot School MTB-
patterns through singing or MLE
humming Music, Arts, Physical
MU2ME-IIc-5
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.54-55
6. demonstrates the melodic Pilot School MTB-
contour with movement MLE
MU2ME-IIc-6 Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.57-58
7. demonstrates the melodic Pilot School MTB-
contour through MU2ME-IIc-7 MLE
1.7 body staff
Music, Arts, Physical
1.8 writing the melodic line “on
K to 12 Music Curriculum Guide May 2016 Page 17of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
II. MELODY demonstrates basic performs with accuracy of the air” Education and
understanding of pitch and pitch, the simple melodic 1.9 line notation Health 2.Illagan,
1. Pitch simple melodic patterns patterns through body Amelia M. et.al,
2. Simple Melodic movements, singing or 2013 pp.58-62
Patterns playing musical instruments 8. relates visual imagery to Pilot School MTB-
melodic patterns MLE
MU2ME-IIc-8 Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.63-65
III. FORM demonstrates performs a song, chosen 9. identifies the beginning and Pilot School MTB-
understanding of the basic from among the previously ending of a song MLE
1. Musical Lines concepts of musical form learned songs that shows Music, Arts, Physical
2. Beginnings and the basic concepts of MU2FO-IId-1
Education and
Endings in Music musical lines, beginnings, Health 2.Illagan,
3. Repeats in Music endings and repeats Amelia M. et.al,
through body movement, 2013 pp.78-82
vocal sounds, and 10. demonstrates the beginning Pilot School MTB-
instrumental sounds and ending of a song with MLE
10.1 movements Music, Arts, Physical
10.2 vocal sounds MU2FO-IId-2
Education and
10.3 instrumental sounds
Health 2. Illagan,
Amelia M. et.al,
2013 pp.78-82
11. identifies musical lines as Pilot School MTB-
11.1 similar MLE
11.2 dissimilar with Music, Arts, Physical
movements and with the MU2FO-IIe-3
Education and
use geometric shapes or Health 2. Illagan,
objects Amelia M. et.al,
2013 pp.72-76
12. demonstrates repeated Pilot School MTB-
musical lines with movements MU2FO-IIe-4 MLE
Music, Arts, Physical
K to 12 Music Curriculum Guide May 2016 Page 18of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.84-88
13. recognizes repetitions within a MU2FO-IIf-5 Pilot School MTB-
song MLE
14. creates melodic introduction MU2FO-IIg-h-6 Pilot School MTB-
and ending of songs MLE
15. creates rhythmic introduction MU2FO-IIg-h-7 Pilot School MTB-
and ending of songs MLE
THIRD QUARTER
IV. TIMBRE demonstrates determines accurately the 1. identifies the source of Pilot School MTB-
understanding of the basic sources of sounds heard, sounds e.g. winds, waves MLE
1. Quality of Sound in concepts of timbre and produce sounds using swaying of the trees, animals Music, Arts, Physical
Music voice, body, and objects, sounds, sounds produced by MU2TB-IIIa-1
Education and
2. Introduction to Voice and be able to sing in machines, transportation, etc.
Health 2. Illagan,
Production accurate pitch Amelia M. et.al,
3. Differentiation in 2013 pp.97-102
Sound Quality 2. replicates different sources of Pilot School MTB-
4. Introduction to sounds with body movements MLE
Musical Instruments Music, Arts, Physical
MU2TB-IIIa-2
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.103-106
3. identifies the common musical Pilot School MTB-
instruments by their sounds MLE
and image Music, Arts, Physical
MU2TB-IIIb-3
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.108-111
4. recognizes the difference Pilot School MTB-
between speaking and singing MU2TB-IIIc-4 MLE
Music, Arts, Physical
K to 12 Music Curriculum Guide May 2016 Page 19of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
IV. TIMBRE demonstrates determines accurately the Education and
understanding of the basic sources of sounds heard, Health 2. Illagan,
1. Quality of Sound in concepts of timbre and produce sounds using Amelia M. et.al,
Music voice, body, and objects, 2013 pp.112-115
2. Introduction to Voice and be able to sing in 5. sings songs with accurate Pilot School MTB-
pitch and pleasing vocal MLE
Production accurate pitch
3. Differentiation in Sound quality Music, Arts, Physical
Quality MU2TB-IIIc-5 Education and
4. Introduction to Musical Health 2. Illagan,
Instruments Amelia M. et.al,
2013 pp.121-122
6. produces sounds using voice, Pilot School MTB-
body, and objects to enhance MU2TB-IIId-6 MLE
a given story
V. DYNAMICS demonstrates creatively applies changes 7. interprets through body Pilot School MTB-
understanding of the basic in dynamics to enhance movements the dynamics of a MLE
1. Volume of Sound in concepts of dynamics rhymes, chants, drama, and song Music, Arts, Physical
Music musical stories MU2DY-IIIc-1
Education and
2. Distinction Between
Health 2. Illagan,
Loudness and Amelia M. et.al,
Softness in Music 2013 pp.132-139
8. distinguishes between “loud”, Pilot School MTB-
“louder”, “soft” and “softer” in MLE
music Music, Arts, Physical
MU2DY-IIIc-2
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.132-134
9. relates movements of animals Pilot School MTB-
to dynamics MLE
E.g. Music, Arts, Physical
elephant walking – loud MU2DY-IIIc-3
Education and
dog walking – medium
Health 2. Illagan,
tiny steps of a mouse - soft Amelia M. et.al,
2013 pp.132-134
10. uses the words loud, louder, MU2DY-IIIc-4 Pilot School MTB-
K to 12 Music Curriculum Guide May 2016 Page 20of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
V. DYNAMICS demonstrates creatively applies changes soft, softer – to identify MLE
understanding of the basic in dynamics to enhance variations in volume
1. Volume of Sound in Music concepts of dynamics rhymes, chants, drama, and 11. replicates “loud,” “medium,” Pilot School MTB-
2. Distinction Between musical stories and “soft” with voice or with MLE
Loudness and Softness instruments MU2DY- Music, Arts, Physical
in Music
IIId,e,h-5 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.130-131
12. sings a given song with MU2DY-IIIf-h-6 Pilot School MTB-
appropriate dynamics MLE
FOURTH QUARTER
VI. TEMPO demonstrates uses varied tempito 1. mimics animal movements Pilot School MTB-
understanding of the basic enhance rhymes, chants, 1.1 horse – fast MLE
1. Speed of Sound In concepts of tempo drama, and musical stories 1.2 carabao – moderate MU2TP-IVa-1 Music, Arts, Physical
Music 1.3 turtle – slow
Education and
2. Distinction Between Health 2. Illagan,
Fastness and Amelia M. et.al,
Slowness in Music 2013 pp.143-145
2. responds to the accurate Pilot School MTB-
tempo of a song as guided by MLE
the hand signal of the teacher Music, Arts, Physical
E.g. MU2TP-IVa-2
Education and
The teacher’s slow hand Health 2. Illagan,
movement means “slow”, Amelia M. et.al,
while fast hand movement 2013 pp.147-148
means “fast”.
3. demonstrates changes in Pilot School MTB-
tempo with movements MLE
MU2TP-IVa-3 Music, Arts, Physical
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.147-148
4. responds to variations in MU2TP-IVb-4 Pilot School MTB-
MLE
K to 12 Music Curriculum Guide May 2016 Page 21of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
VI. TEMPO demonstrates uses varied tempito tempo with dance steps Music, Arts, Physical
understanding of the basic enhance rhymes, chants, 4.1 slow movement with slow
1. Speed of Sound In concepts of tempo drama, and musical stories music Education and
Music 4.2 s music Health 2. Illagan,
Amelia M. et.al,
2. Distinction Between
2013 pp.137-140
Fastness and Slowness 5. distinguishes “slow,” Pilot School MTB-
in Music “slower,”“fast,” and “faster” in MLE
recorded music with voice or Music, Arts, Physical
with instruments MU2TP-IVb-5
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140
6. uses the terms “fast,” Pilot School MTB-
“faster,” “slow,” and “slower” MLE
to identify variations in tempo Music, Arts, Physical
MU2TP-IVb-6
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.145
7. replicates “slow,” Pilot School MTB-
“slower,”“fast,” and “faster” MLE
with voice or with Music, Arts, Physical
instruments MU2TP-IVc-7
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140
VII. TEXTURE demonstrates distinguishes accurately 8. identifies musical texture with Pilot School MTB-
understanding of the basic between single musical line recorded music MLE
1. Single Melodic Line or concepts of texture and multiple musical lines E.g. Music, Arts, Physical
Simultaneous which occur simultaneously 8.1 melody with single
Education and
Occurrence of Multiple in a given song instrument or voice MU2TX-IVd-f-1 Health 2. Illagan,
Melodic Lines 8.2 single melody with Amelia M. et.al,
2. Distinction Between accompaniment 2013 pp.151-152
Thinness and 8.3 two or more melodies sung
Thickness in Music or played together at the
K to 12 Music Curriculum Guide May 2016 Page 22of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
VII. TEXTURE demonstrates distinguishes accurately same time
understanding of the basic between single musical line 9. shows awareness of texture Pilot School MTB-
1. Single Melodic Line or concepts of texture and multiple musical lines by relating visual images to MLE
Simultaneous which occur simultaneously recorded or performed music Music, Arts, Physical
Occurrence of Multiple in a given song MU2TX-IVd-f-2
Education and
Melodic Lines
Health 2. Illagan,
2. Distinction Between Amelia M. et.al,
Thinness and 2013 pp.154-159
Thickness in Music 10. distinguishes between single Pilot School MTB-
musical line and multiple MLE
musical lines which occur Music, Arts, Physical
simultaneously MU2TX-IVd-f-3
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.156-161
11. distinguishes between Pilot School MTB-
thinness and thickness of MLE
musical sound in recorded or Music, Arts, Physical
performed music MU2TX-IVg-h-4
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.160-162
Gumuhit 3.
Valdecantos,
Emelita C. 1997.
pp.12-26
7. creates ostinato patterns in Pilot School MTB-
different meters using MLE
combination of different MU3RH-If-7 *Musika at Sining 3.
sound sources
Sunico, Raul M. et
al, 2000 pp.14-25
SECOND QUARTER
II. MELODY demonstrates sings the melody of a song 1. identifies the pitch of a tone Pilot School MTB-
understanding of the basic with accurate pitch as: MLE
1. Pitch concepts of melody 1.1 high – higher *Tunog, Tinig,
2. Melodic Lines 1.2 moderately high – higher
Tugtog at Likhang
3. Melodic Patterns 1.3 moderately low – lower
Sining 3. Nera, Fe
andContour 1.4 low – lower C. et al, 2000
MU3ME-IIa-1 pp.28-34
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.52-56
*Umawit at
Gumuhit 3.
K to 12 Music Curriculum Guide May 2016 Page 25of 94
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
II. MELODY demonstrates sings the melody of a song Valdecantos,
understanding of the basic with accurate pitch Emelita C. 1997.
1. Pitch concepts of melody pp.33-37
2. Melodic Lines 2. matches the correct pitch of Pilot School MTB-
tones MLE
3. Melodic Patterns
andContour 2.1 with the voice *Tunog, Tinig,
2.2 with an instrument
Tugtog at Likhang
MU3ME-IIa-2 Sining 3. Nera, Fe
C. et al, 2000
pp.30-31
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.58-59
3. relates movements with levels Pilot School MTB-
of pitch MLE
MU3ME-IIb-3 *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.31
4. matches the voice with the MU3ME-IIb-c-4 Pilot School MTB-
pitches of a melody MLE
5. recreates simple patterns and MU3ME-IIb-5 Pilot School MTB-
contour of a melody MLE
6. sings entire simple songs with Pilot School MTB-
accurate pitch MLE
6.1 Favorite Children’s Songs
6.1.1 “Do – Re – Mi”
6.1.2 “What Can We Do
Today” MU3ME-IIc-6
6.2 Folksongs
6.2.1 “Manang Biday”
6.2.2 “Paruparong Bukid”
6.2.3 “Atin Cu Pung
Singsing”
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
III. FORM demonstrates sings, plays, and performs 7. identifies the beginning, MU3FO-IId-1 Pilot School MTB-
understanding of the basic (through body movements) middle, and ending of a song MLE
1. Musical Lines concepts of musical form a chosen song showing the 8. identifies musical lines as Pilot School MTB-
2. Musical Beginning, basic concepts of musical 8.1 similar MLE
Middle, and End lines, beginnings, endings 8.2 same *Tunog, Tinig,
3. Repeats in music and repeats 8.3 different through
Tugtog at Likhang
movements and geometric
MU3FO-IId-2 Sining 3. Nera, Fe
shapes or objects C. et al, 2000
pp.62-68
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.96-100
9. recognizes repetitions within a Pilot School MTB-
song MLE
*Tunog, Tinig,
Tugtog at Likhang
MU3FO-IId-3 Sining 3. Nera, Fe
C. et al, 2000
pp.64-68
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.102-103
10. sings repetitions of musical Pilot School MTB-
lines independently MLE
MU3FO-IIe-4 *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.66-68
11. plays repetitions of musical MU3FO-IIf-5 Pilot School MTB-
lines MLE
12. renders a song confidently, Pilot School MTB-
giving appropriate emphasis MU3FO-IIg-h-6 MLE
on the beginning and on the
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
ending
THIRD QUARTER
IV. TIMBRE demonstrates applies vocal techniques in 1. recognizes differences in Pilot School MTB-
understanding of the basic singing to produce a sound quality coming from a MLE
1. Voice Production concepts of timbre pleasing vocal quality: variety of sound sources MU3TB-IIIa-1 *Musika at Sining 3.
Techniques 1. using head tones
Sunico, Raul M. et
2. Variation in Sound 2. employing proper al, 2000 pp.129-
Quality breathing 134. Pp.135-140
2.1 Similar 3. using the diaphragm 2. responds to differences in Pilot School MTB-
3. 2.2 Different sound quality with appropriate MLE
Introduction to Musical movement
Instruments *Tunog, Tinig,
Tugtog at Likhang
MU3TB-IIIa-2 Sining 3. Nera, Fe
C. et al, 2000
pp.58-79
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.129-
134, pp.135-140
3. recognizes musical Pilot School MTB-
instruments through sound MLE
*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
MU3TB-IIIb-3 C. et al, 2000
pp.74-79
*Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.129-
134, pp.135-140
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.70-72
MU3TB-IIIb-5 *Musika at Sining 3.
Sunico, Raul M. et
al, 2000 pp.125-128
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.64
6. uses the voice and other *Manwal ng Guro
sources of sound to produce a
variety of timbres MU3TB-IIIc-6 Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.64
IV. DYNAMICS demonstrates sings songs with proper 7. interprets the dynamics of a Pilot School MTB-
understanding of the basic dynamics following basic song through body movements MLE
1. Volume of Sound in concepts of dynamics in conducting gestures MU3DY-IIId-1 *Tunog, Tinig,
Music order to respond to 7.1 small movement – soft
Tugtog at Likhang
2. Conducting and conducting gestures using 7.2 big movement – loud
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Dynamics symbols indicating Sining 3. Nera, Fe
variances in dynamics C. et al, 2000.
pp.82-86
8. distinguishes “loud,” Pilot School MTB-
“medium,” and “soft” in music MLE
MU3DY-IIId-2 *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000.
pp.82-86
9. relates dynamics to the Pilot School MTB-
movements of animals MLE
e.g. MU3DY-IIId-3
9.1 elephant walking – loud
9.2 mice scurrying – soft
10. uses terms “loud,” “medium,” Pilot School MTB-
and “soft” (louder, softer) to MLE
identify changes and *Manwal ng Guro
variations in volume MU3DY-IIIe-4
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.73
11. responds to conducting Pilot School MTB-
gestures of the teacher for MLE
“loud” and “soft” *Umawit at
E.g.
Gumuhit 3.
11.1 Teacher’s palm down MU3DY-IIIe-h- Valdecantos,
means “soft” and palm up 5 Emelita C. 1997.
means “loud.” pp.73-75
11.2 Hands moving farther from
each other mean sound
becomes louder.
12. uses varied dynamics to Pilot School MTB-
enhance poetry, chants, MU3DY-IIIf-h- MLE
drama, songs and musical 6
stories
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
FOURTH QUARTER
V. TEMPO demonstrates enhances performance of 1. mimics animal movements Pilot School MTB-
understanding of the poetry, chants, drama, according to speed MLE
1. Speed of Sound in concepts of tempo in order musical stories, and songs 1.1 horse – fast
Music to respond to conducting by using a variety of tempo 1.2 carabao – slow MU3TP-IVa-1
1.1 Fast symbols indicating 1.3 turtle – slow
1.2 Slow variations in tempo 1.4 rabbit - fast
2. Conducting and Tempo 1.5 dog – fast
2. sings songs with proper Pilot School MTB-
tempo following basic MLE
conducting gestures *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
MU3TP-IVa-2 C. et al, 2000
pp.88-89
*Umawit at
Gumuhit 3.
Valdecantos,
Emelita C. 1997.
pp.75-80
3. relates movement to changes Pilot School MTB-
and variations in tempo MLE
MU3TP-IVb-3 *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.88-93
4. responds with movement to Pilot School MTB-
tempo changes MLE
4.1 (i.e. doing locomotor and MU3TP-IVb-c-4 *Tunog, Tinig,
non-locomotor movements)
Tugtog at Likhang
to a variety of tempo in
Sining 3. Nera, Fe
recorded music C. et al, 2000 pp.90
5. distinguishes among fast, MU3TP-IVb-5 Pilot School MTB-
moderate, and slow in music MLE
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
V. TEMPO demonstrates enhances performance of *Tunog, Tinig,
understanding of the poetry, chants, drama,
1. Speed of Sound in concepts of tempo in order musical stories, and songs Tugtog at Likhang
Music to respond to conducting by using a variety of tempo Sining 3. Nera, Fe
C. et al, 2000
1.1 Fast symbols indicating
pp.88-93
1.2 Slow variations in tempo 6. uses the terms: fast, Pilot School MTB-
2. Conducting and Tempo moderate, and slow, (faster, MLE
slower etc.) to identify tempo *Tunog, Tinig,
changes and variations
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000
pp.88-93
MU3TP-IVb-6 *Musika at Sining
3.Sunico, Raul M. et
al, 2000. pp.111-
123
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.75
7. sings songs with designated Pilot School MTB-
tempo MLE
E.g. *Tunog, Tinig,
7.1 Lullaby – slow MU3TP-IVa-c-7
Tugtog at Likhang
7.2 Joyful songs – fast
Sining 3. Nera, Fe
C. et al, 2000
pp.88-93
VI. TEXTURE demonstrates sings 8. demonstrates the concept of Pilot School MTB-
understanding of the basic 1. “two-part rounds” texture by singing “two-part MLE
1. Single Melodic Line or concepts of texture 2. “partner songs” rounds” MU3TX-IVd-f-1
Simultaneous E.g.
Occurrence of Multiple 8.1 “Are You Sleeping, Brother
Melodic Lines John?”
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
2. Distinction Between 8.2“Row, Row, Row Your Boat”
Thinness and 8.3“Musika Ay Di Kukupas”
Thickness in Music 9. demonstrates the concept of Pilot School MTB-
texture by singing “partner MLE
songs
E.g.
9.1 “Leron, Leron Sinta” MU3TX-IVd-f-2
9.2 “Pamulinawen”
9.3“It’s A Small World”
9.4“He’s Got the Whole World in
His Hands
10. distinguishes between single Pilot School MTB-
musical line and multiple MU3TX-IVd-f-3 MLE
musical lines which occur
simultaneously
11. distinguishes between MU3TX-IVg-h- Pilot School MTB-
thinness and thickness of MLE
4
musical sound
GRADE 4
ELEMENTS OF MUSIC
do re mi fa so la ti do
Guro Umawit at
7
Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.30
THIRD QUARTER
III. FORM demonstrates performs similar and 1. identifies aurally and visually MISOSA4-
understanding of musical contrasting musical the introduction and coda module16,17
1. Phrases in a Musical Piece phrases, and the uses and phrases (ending) of a musical piece
2. Structure of Musical Sound meaning of musical terms *Manwal ng
2.1 Antecedent (Question) in form MU4FO-IIIa-1 Guro Umawit at
Phrase Gumuhit 4.
2.2 Consequent (Answer) Valdecantos,
Phrase Emelita C. 1999.
2.3 Introduction pp.38-39
2.4 CODA (ending)Phrase 2. identifies aurally and visually
the antecedent and MU4FO-IIIa-2
consequent in a musical piece
3. listens to similar and MU4FO-IIIa-
contrasting phrases in
b-3
recorded music
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
4. identifies similar and
contrasting phrases in vocal
and instrumental music from MU4FO-IIIc-4
the previous lessons
4.1 melodic
4.2 rhythmic
5. sings similar and contrasting
phrases in music MU4FO-IIId-5
5.1 melodic
5.2 rhythmic
IV. TIMBRE demonstrates participates actively in a 6. distinguishes vocal and MISOSA4-
understanding of group performance to instrumental sounds module18
1. Variations of Sound variations of sound in demonstrate different
1.1 Vocal music (lightness and vocal and instrumental *Manwal ng
1.2 Instrumental heaviness) as applied to sounds MU4TB-IIIe-1 Guro Umawit at
vocal and instrumental Gumuhit 4.
music Valdecantos,
Emelita C. 1999.
pp.39-49
7. identifies as vocal or MISOSA4-
instrumental, a recording of module19
the following: MU4TB-IIIe-2
7.1 solo
7.2 duet
7.3 trio
7.4 ensemble
8. identifies aurally and visually MISOSA4-
different instruments module19
*Manwal ng
ELEMENTS OF MUSIC
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1999.
pp.4-9
I. RHYTHM recognizes the musical performs with a 5. responds to metric pulses MU5RH-Ih-5 MISOSA5-
symbols and demonstrates conductor, a speech of music heard with module6,7
Musical Symbols and understanding of concepts chorus in simple time appropriate conducting
Concepts pertaining to rhythm signatures gestures *Musika at Sining 5.
3. Notes and Rests 1. choral Sunico, Raul M. et
4. Meters 2. instrumental al, 2000. pp.4-6
5. Rhythmic Patterns
6. Simple Time *Manwal ng Guro
Signatures Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1999.
pp.4-6
SECOND QUARTER
II. MELODY recognizes the musical accurate performance 1. recognizes the meaning
symbols and demonstrates of songs following the and uses of
Musical Symbols and understanding of concepts musical symbols F-Clef on the staff MU5ME-IIa-1
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece
2. F-Clef
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
3. Intervals 2. identifies the pitch names
4. Scales (Pentatonic, of each line and space on
C major, G major) the F-Clef staff
5. Melodic Contours
MU5ME-IIa-2
II. MELODY recognizes the musical accurate performance G A B C D E F G A
4th
III. MELODY recognizes the musical accurate performance
symbols and demonstrates of songs following the
Musical Symbols and understanding of concepts musical symbols
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece
2. F-Clef 5th
3. Intervals
4. Scales (Pentatonic,
C major, G major)
5. Melodic Contours
octave
Umawit at Gumuhit
- C major scale 5. Valdecantos,
III.MELODY recognizes the musical accurate performance MU5ME-IIf-9 Emelita C. 1999.
symbols and demonstrates of songs following the pp.23-31
Musical Symbols and understanding of concepts musical symbols
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece - G major scale
2. F-Clef
3. Intervals
4. Scales (Pentatonic,
C major, G major)
5. Melodic Contours
*Manwal ng Guro
Umawit at Gumuhit
10. creates simple melodies MU5ME-IIg-10 5. Valdecantos,
Emelita C. 1999.
pp.30-33
*Manwal ng Guro
11. performs his/her own MU5ME-IIh- Umawit at Gumuhit
5. Valdecantos,
created melody 11
Emelita C. 1999.
pp.30-33
THIRD QUARTER
IV. FORM demonstrates understanding performs the created 1. recognizes the design or
of the uses and meaning of song with appropriate structure of simple musical
Structure of Musical musical terms in Form musicality forms:
Sound 1.1 unitary(one section) MU5FO-IIIa-1
1. Strophic 1.2 strophic(same tune with 2
2. Unitary or more sections and 2 or
more verses)
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
2. creates a 4- line unitary MU5FO-IIIb-2
song
3. creates a 4 –line strophic MU5FO-IIIc-
song with 2 sections and 2 d-3
verses
V. TIMBRE demonstrates understanding participates in a group 4. describes the *Musika at Sining 5.
of variations of sound performance to characteristics of each type Sunico, Raul M. et al,
Vocal and Instrumental density in music (lightness demonstrate different of voice 2000. pp.44-46
Sounds and heaviness) as applied to vocal and instrumental
vocal and instrumental music sounds MU5TB-IIIe-1 *Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.44-45
5. identifies the following MISOSA4-
vocal timbres: module18
5.1 soprano
5.2 alto *Musika at Sining
5.3 tenor 5. Sunico, Raul M.
5.4 bass et al, 2000. pp.44-
46
MU5TB-IIIe-2 *Manwal ng Guro
Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.44-45
FOURTH QUARTER
VI. DYNAMICS demonstrates understanding applies dynamics to 1. identifies the different *Manwal ng Guro
of concepts pertaining to musical selections dynamic levels used in a MU5DY-IVa-b- Umawit at Gumuhit
Variations of Volume in volume in music song heard 1 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.49-50
2. uses appropriate musical MISOSA4-module20
terminology to indicate
variations in dynamics, *Musika at Sining
specifically: 5. Sunico, Raul M.
2.1 piano (p) et al, 2000. pp.54-
2.2 mezzo piano (mp) MU5DY-IVa-b- 55
2.3 forte(f)
2.4 mezzo forte (mf) 2
2.5 crescendo
2.6 decrescendo
VII. TEMPO recognizes the musical applies appropriately, 3. identifies the various MISOSA4-module21
symbols and demonstrates various tempo to vocal tempo used in a song
Variations of Speed in understanding of concepts and instrumental heard MU5TP-IVc-1 *Musika at Sining 5.
Musical Sound pertaining to speed in music performances Sunico, Raul M. et al,
recognizes the musical applies appropriately, 2000. pp.62
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
VII. TEMPO symbols and demonstrates various tempo to vocal
understanding of concepts and instrumental *Manwal ng Guro
pertaining to speed in music performances Umawit at Gumuhit
Variations of Speed in 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.54-56
4. uses appropriate musical *Musika at Sining 5.
terminology to indicate Sunico, Raul M. et al,
variations in tempo: 2000. pp.62
4.1 largo
4.2 presto MU5TP-IVc-d-
4.3 allegro 2 *Manwal ng Guro
4.4 moderato Umawit at
4.5 andante Gumuhit 5.
4.6 vivace Valdecantos,
4.7 ritardando Emelita C. 1999.
4.8 accelerando pp.54-58
VIII. TEXTURE demonstrates understanding recognizes examples of 5. identifies aurally the *Musika at Sining 5.
of concepts pertaining to horizontal 3-part vocal texture of a musical piece Sunico, Raul M. et al,
Densities of Musical Sound texture in music or instrumental texture, 2000. pp.65
aurally and visually
MU5TX-IVe-1 *Manwal ng Guro
Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.60-61
6. performs 3-part rounds *Musika at Sining 5.
and partner songs Sunico, Raul M. et al,
2000. pp.68
MU5TX-IVe-2 *Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.59
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
VIII. HARMONY recognizes the musical performs a vocal or 7. identifies the intervals of *Musika at Sining 5.
symbols and demonstrates instrumental ensemble the following major triads: Sunico, Raul M. et al,
Introduction to Major Triad understanding of harmonic using the following 2000. pp.71-74
intervals major triads( I, IV, V ) 7.1 tonic (I)
*Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
7.2 subdominant (IV) pp.64-69
MU5HA-IVf-g-
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-16, pp.25-
26
2. differentiates among MISOSA5-
6 module6
and 8 time signatures
*Musika at Sining
6. Sunico, Raul
M. et al, 2000.
MU6RH-Ib-e-2 pp.8-10
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
I. RHYTHM demonstrates understanding responds to beats in 3. demonstrates the conducting MISOSA5-
of the concept of rhythm by music heard with gestures of 2 3 4 module6
Musical Symbols and applying notes and rests, appropriate 4, 4, 4
6
Concepts: rhythmic patterns, and time conducting patterns of and time signatures MISOSA6-
1. Notes and Rests signatures and 2 3 4 6 8 module7 Ritmo2-
2. Meters 4, 4, 4 8 2, module 8
3. Rhythmic Patterns Ritmo 2-4, 3-4,
4. Time Signatures 4-4
5. Conducting
MU6RH-Ib-e-3 *Musika at Sining
6. Sunico, Raul
M. et al, 2000.
pp.8-10
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
4. identifies through conducting
the relationship of the first MU6RH-If-4
and lastmeasure in an
incomplete measure
5. creates rhythmic patterns in MISOSA5-
2 3 4 and 6 module3 F
4, 4, 4 8 Mayor, module4
time signatures G Mayor,
module5 tonong
La
MU6RH-Ig-h-5
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
V. DYNAMICS demonstrates understanding applies the appropriate 8. distinguishes varied dynamic MISOSA5-
of the concept of dynamic levels in vocal levels in a music heard module16
Variations in Dynamics dynamicsthrough a wide and instrumental 8.1 piano (p) MU6DY-IIIf-g-
variety of dynamic levels music 8.2 mezzo piano (mp) *Musika at Sining
1
8.3 pianissimo (pp) 6. Sunico, Raul
8.4 forte (f) M. et al, 2000.
8.5 mezzo forte (mf) pp.51-57
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
V. DYNAMICS demonstrates understanding applies the appropriate 8.6 fortissimo (ff)
of the concept of dynamics dynamic levels in vocal 8.7 crescendo *Manwal ng Guro
Variations in Dynamics through a wide variety of and instrumental 8.8 decrescendo Umawit at
dynamic levels music Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.48-52
FOURTH QUARTER
VI. TEMPO demonstrates understanding performs a given song, 1. identifies the different tempo *Musika at Sining
of the various tempo using tempo marks in a given song or music: 6. Sunico, Raul
Variations of Tempo appropriately -allegro M. et al, 2000.
-andante pp.59-61
-ritardando
-accelerando MU6TX-IVa-b- *Manwal ng Guro
-largo 1 Umawit at
-presto Gumuhit 6.
-vivace Valdecantos,
Emelita C. 1999.
pp.53-54
VII. TEXTURE demonstrates the concept of performs accurately a 4. identifies aurally the texture EASE MUSIC-
texture as: given song with of musical pieces module6
Variations in Texture 1. monophonic (one voice) monophonic, 4.1 monophonic
1. Monophony 2. homophonic (voice and homophonic, and 4.2 homophonic Edukasyong
2. Homophony accompaniment) polyphonic textures 4.3 polyphonic Pangkatawan,
3. Polyphony 3. polyphonic (many Kalusugan at
voices) Musika I. Abejo,
Mary Placid.1994.
pp.224-229
*Musika at Sining
Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.61
VIII. HARMONY demonstrates understanding demonstrates harmony 8. identifies the intervals of the *Musika at Sining
of the concepts of harmony in group performances following major triads: 6. Sunico, Raul
1. Primary Chords through the intervals that 1. choir M. et al, 2000.
2. Harmony in Group constitute the primary 2. rondalla pp.78-81
Performances chords of major and minor 3. lyre band
scales in music *Manwal ng Guro
MU6HA-IVe-1 Umawit at
tonic ( I ) Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.63-65
dominant ( V )
A minor MU6HA-IVf-2
E minor
D minor
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Music of Luzon ( Lowlands) demonstrates performs music of the 4. explores ways of producing EASE-module1
understandingof the lowlands with appropriate sounds on a variety of sources
Geographical and Cultural musical characteristics of pitch, rhythm, expression that is similar to the instruments *Edukasyong
Background representative music from and style being studied; Pangkatawan,
the lowlands of Luzon MU7LU-Ib-f-4 Kalusugan at
1. Vocal Music Musika III.
a) Performance practice; Adriano, Celia T.
b)Folk songs; et al, 1999.
c)Sacred (Liturgical and pp.251
Devotional) music: Mass, 5. improvises simple
Pastores, Senakulo, rhythmic/melodic
Pasyon, Salubong, Flores accompaniments to selected MU7LU-Ic-f-5
de Mayo, Santacruzan; music from the Lowlands of
d)Secular music: Harana, Luzon;
Balitaw, Kumintang, Polka; 6. performs
e)Art music: Kundiman. instruments/improvised MU7LU-Ig-h-6
instruments from Luzon
2. Instrumental Music
lowlands;
a) Rondalla; 7. sings folksongs from the *Edukasyong
b)Brass Band; lowlands of Luzon; Pangkatawan,
c) Musikong Bumbongl Kalusugan at
d)Bamboo organ; MU7LU-Ia-h-7 Musika III.
e) Angklung ensemble; Adriano, Celia T.
Himig Pangkat Kawayan. et al, 1999.
pp.236-248
8. creates appropriate movements
or gestures to accompany the MU7LU-Ia-h-8
music selections of the Lowlands
of Luzon;
9. provides harmonic MU7LU-Id-9
accompaniments to selected
music of the Lowlands of Luzon;
10. evaluates music and music
performances applying MU7LU-Ic-h-
knowledge of musical elements 10
and styles.
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
SECOND QUARTER
Music of Cordillera, Mindoro, The Learner… The Learner... The Learner... *Edukasyong
Palawan, and the Visayas 1. identifies the musical Pangkatawan,
demonstrates performs selected vocal characteristics of representative Kalusugan at
A. Cordillera understanding of the and instrumental music of selections of Cordillera, Mindoro, MU7LV-IIa-f-1 Musika III.
musical characteristics of Cordillera, Mindoro, Palawan and of the Visayas after Adriano, Celia T.
Geographical, cultural, and representative music from Palawan and the Visayas listening; et al, 1999.
historical background the highlands of Luzon, in appropriate style pp.248-256,
Mindoro, Palawan, and the pp.265
1. Vocal Music; Visayas 2. analyzes the musical elements of *Edukasyong
a) Performance practice; some vocal and instrumental Pangkatawan,
selections
b) Representative from Cordillera, Kalusugan at
songs/genre (salidummay, Mindoro, Palawan and of the MU7LV-IIa-f-2 Musika III.
oggayam, ba-diw). Visayas after listening; Adriano, Celia T.
et al, 1999.
2. Instrumental Music pp.265
a) Gangsa ensemble; 3. explains the distinguishing *Edukasyong
b) Bamboo solo/ensemble. characteristics of representative Pangkatawan,
music from Cordillera, Mindoro, Kalusugan at
B. Mindoro and Palawan Palawan and of the Visayasin MU7LV-IIb-f-3 Musika III.
relation to its culture and Adriano, Celia T.
1. Vocal Music; geography; et al, 1999.
a) Performance practice; pp.248-259
b) Representative 4. explores ways of producing *Edukasyong
songs/genre sounds on a variety of sources Pangkatawan,
(Vocal chants -Ambahan, similar to instruments being Kalusugan at
Igway). studied; MU7LV-IIb-g-4 Musika III.
Adriano, Celia T.
2. Instrumental Music et al, 1999.
a) Instrumental ensembles: pp.257-258
Bamboo / Gong 5. improvises simple *Edukasyong
ensemble ; rhythmic/melodic Pangkatawan,
b) Solo instruments. accompaniments to selected MU7LV-IIb-g-5 Kalusugan at
music from the Cordillera, Musika III.
C. Visayas Mindoro, Palawan and of the Adriano, Celia T.
Visayas; et al, 1999.
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
1. Vocal Music demonstrates performs selected vocal and pp.252-265
a) Performance practice; understanding of the instrumental music of
b) Representative musical characteristics of Cordillera, Mindoro, Palawan 6. performs *Edukasyong
songs/genre: Balitao- representative music from and the Visayas in instruments/improvised Pangkatawan,
instruments
Visayan, Pastores- the highlands of Luzon, appropriate style from Cordillera, Kalusugan at
Christmas, Kanta - Mindoro, Palawan, and the Mindoro, Palawan and of the MU7LV-IIb-g-6 Musika III.
Folksong, Ballad, Visayas Visayas, alone and/or with Adriano, Celia T.
Lullaby, Courtship, others’ et al, 1999.
and Composo - pp.258
Ilonggo narrative 7. provides accompaniment to
song. selected music of the Cordillera, MU7LV-IIb-g-7
Mindoro, Palawan and of the
2. Instrumental Music
Visayas;
a) Instrumental 8. sing songs from the Cordillera, *Edukasyong
ensembles: Rondalla, Mindoro, Palawan and of the Pangkatawan,
Tultogan, Harp, Band, Visayas; Kalusugan at
“Bird Dance” Binanog MU7LV-IIa-f-8 Musika III.
(Panay, Bukidnon) Adriano, Celia T.
et al, 1999.
pp.252-265
9. creates appropriate movements
to accompany music from the MU7LV-IIc-h-9
Cordillera, Mindoro, Palawan and
of the Visayas;
10. evaluates music and music MU7LV-IIc-h-
performances applying 10
knowledge of musical elements
and style.
THIRD QUARTER
Music of Mindanao The Learner… The Learner... The Learner... *Edukasyong
1.
identifies the musical Pangkatawan,
A. Islamic Music demonstrates performs music of characteristics of MU7MN-IIIa-g- Kalusugan at
1. Vocal music: understanding of the Mindanao with representative music 1 Musika III.
musical characteristics of appropriate expression selections from Mindanao Adriano, Celia T.
a) chants; et al, 1999.
and style after listening;
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
b) lullaby. representative music from pp.252-253
Mindanao
2. Instrumental Ensemble: 2. analyzes the musical *Edukasyong
a) Kulintang ensemble ; elements of some Mindanao Pangkatawan,
b) bamboo ensemble ; vocal and instrumental MU7MN-IIIa-g- Kalusugan at
music; Musika III.
c) solo instruments. 2
Adriano, Celia T.
3. Non-Islamic et al, 1999.
pp.252-253
a) Christian; 3. explains the distinguishing *Musika at Sining
b) Lumad: characteristics of I. Padro, Alicia N.
(Folk songs of representative music MU7MN-IIIa-g- et al, 1998. pp.2-
Zamboanga, Butuan and selections of Mindanao in 3 3
Tausug). relation to its culture and
geography;
4. explores ways of producing *Edukasyong
sounds on a variety of Pangkatawan,
sources that is similar to the MU7MN-IIIb-h- Kalusugan at
instruments being studied; Musika III.
4
Adriano, Celia T.
et al, 1999.
pp.253-254
5. improvises simple
rhythmic/melodic MU7LV-IIIc-h-
accompaniments to selected 5
music from Mindanao;
6. perform
instruments/improvised MU7LV-IIIc-h-
instruments from Mindanao, 6
alone and/or with others;
7. sing songs from Mindanao; MU7LV-IIId-h-
7
8. creates appropriate MU7LV-IIIc-8
movements or gestures to
accompany the music
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
demonstrates performs music of selections of Mindanao;
understanding of the Mindanao with appropriate
9.
musical characteristics of expression and style provides accompaniment to MU7LV-IIIc-h-
representative music from selected music of
Mindanao 9
Mindanao;
10. evaluates music selections
and music performances MU7LV-IIIb-h-
applying knowledge of
10
musical elements and
style.
FOURTH QUARTER
Philippine Festivals The Learner… The Learner... The Learner...
a) Aklan – Ati-atihan 1. demonstrates 1. performs 1. identifies musical characteristics MU7FT-IVa-g-1
of selected Philippine festivals
b) Davao - Kadayawan understanding and excerpts/selections from and theatrical forms through
c) Marinduque – Moriones application of musical Philippine musical video or live performances;
d) Cebu – Sinulog skills related to theater 2. narrate the origins and cultural *Edukasyong
e) Bicol – Ibalon selected Philippine background of selected Philippine Pangkatawan,
f) Batangas – Sublian Festivals 2. performs songs and festival/s; Kalusugan at
dances from selected MU7FT-IVa-d-2 Musika III.
2. demonstrates Philippine festivals Adriano, Celia T.
Theatrical Forms understanding and et al, 1999.
application of musical pp.260
a) Komedya/Moro- skills related to theater 3. creates movements to music of a *Edukasyong
particular Philippine festival; Pangkatawan,
moro/Arakyo Kalusugan at
b) Sarsuela MU7FT-IVa-d-3 Musika III.
c) Bodabil Adriano, Celia T.
et al, 1999.
pp.260
4. describes how the music
contributes to the performance of MU7FT-IVe-h-4
the musical production;
5. explains the distinguishing MU7FT-IVa-h-5 EASE-module1
characteristics of representative
Philippine festivals and theatrical
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
forms;
SECOND QUARTER
Music of East Asia The Learner… The Learner... The Learner... OHSP Q2
1. China 1. explains how East Asian *Edukasyong
music relates to its
2. Japan demonstrates performs East Asian geography and culture; Pangkatawan,
3. Korea understanding of common music with appropriate MU8SE-IIa-g-1 Kalusugan at
and distinct musical pitch, rhythm, expression Musika III.
a) Geographical, historical and characteristics of East and style Adriano, Celia T.
cultural background Asian countries Et al, 1999.
b) Traditional instruments pp.267, 274, 282
(idiophones, aerophones, OHSP Q2
membranophones, and 2. listens perceptively to
chordophones) music of East Asia; *Edukasyong
c) Instrumental pieces (solo and Pangkatawan,
ensemble) MU8SE-IIa-h-2 Kalusugan at
d) Folksongs and ritual music Musika III.
e) K-Pop and J-Pop Adriano, Celia T.
Et al, 1999.
pp.289
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Music of East Asia demonstrates performs East Asian OHSP Q2
understanding of common music with appropriate 3. sings songs of East Asia;
1. China and distinct musical pitch, rhythm, expression *Edukasyong
2. Japan characteristics of East and style Pangkatawan,
3. Korea Asian countries MU8SE-IIc-h-3 Kalusugan at
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
b) Traditional instruments pp.268-270, 278-
(idiophones, aerophones, 279, 284-286,
membranophones, and 4. analyzes musical elements OHSP Q2
chordophones) of selected songs and
c) Instrumental pieces (solo instrumental pieces heard *Edukasyong
and ensemble) and performed; Pangkatawan,
d) Folksongs and ritual music MU8SE-IIc-h-4 Kalusugan at
e) K-Pop and J-Pop Musika III.
Adriano, Celia T.
Et al, 1999.
pp.267-270, 274-
280, 283-286
5.explores ways of producing OHSP Q2
sounds on a variety of
sources that would *Edukasyong
simulate instruments being Pangkatawan,
studied; MU8SE-IIb-h-5 Kalusugan at
Musika III.
Adriano, Celia T.
Et al, 1999.
pp.271-272, 280-
282, 286-289
6. improvises simple OHSP Q2
accompaniment to MU8SE-IIc-h-6
selected East Asian music;
7. performs on available OHSP Q2
instruments from East MU8SE-IIb-h-7
Asia;
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Music of East Asia demonstrates performs East Asian 8. evaluates music and OHSP Q2
understanding of music with music performances
1. China common and distinct appropriate pitch, applying knowledge of *Edukasyong
2. Japan musical characteristics rhythm, expression musical elements and Pangkatawan,
3. Korea of East Asian countries and style style. Kalusugan at
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
b) Traditional instruments MU8SE-IIb-h-8 pp.267-287
(idiophones, aerophones,
membranophones, and
chordophones)
c) Instrumental pieces (solo
and ensemble)
d) Folksongs and ritual music
e) K-Pop and J-Pop
THIRD QUARTER
Music of South Asia and Middle The Learner… The Learner... The Learner... *Edukasyong
East 1. explains how music of a Pangkatawan,
demonstrates an performsSouth Asia South Asian and the Middle Kalusugan at
4. India understanding of and the Middle East East country relate to its MU8WS-IIIa- Musika III.
5. Israel common and distinct music with appropriate geography and culture; g-1 Adriano, Celia T.
musical characteristics pitch, rhythm, Et al, 1999.
a) Geographical, historical and of South Asia and the expression and style. pp.291
cultural background; Middle East. 2. listens perceptively to *Edukasyong
b) Traditional instruments music of South Asia and Pangkatawan,
(idiophones, aerophones, the Middle East; MU8WS-IIIa- Kalusugan at
membranophones, and Musika III.
h-2
chordophones) ; Adriano, Celia T.
c) Instrumental pieces (solo and Et al, 1999.
ensemble); pp.297
d) Folksongs and ritual music 3. sings songs of South Asia MU8WS-IIIc-
and the Middle East; g-3
4. analyzes musical elements MU8WS-IIIc- *Edukasyong
of selected songs and h-4 Pangkatawan,
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Music of South Asia and Middle demonstrates an performs South Asia instrumental pieces heard Kalusugan at
East understanding of and the Middle East and performed; Musika III.
common and distinct music with appropriate Adriano, Celia T.
4. India musical characteristics pitch, rhythm, Et al, 1999.
5. Israel of South Asia and the expression and style. pp.291-295
a) Geographical, historical and Middle East. 5. explores ways of *Edukasyong
producing sounds on a Pangkatawan,
cultural background; variety of sources that MU8WS-IIIc- Kalusugan at
b) Traditional instruments would simulate Musika III.
h-5
(idiophones, aerophones, instruments being Adriano, Celia T.
membranophones, and studied; Et al, 1999.
chordophones) ; pp.296-297
c) Instrumental pieces (solo and 6. improvises simple
ensemble); accompaniment to MU8WS-IIIb-
d) Folksongs and ritual music selected South Asia and h-6
the Middle East music;
7. performs on available
instruments from South MU8WS-IIIb-
Asia and Middle East; h-7
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
Traditional Asian Theater Music demonstrates performs excerpts from 3. describe how the musical
1. Wayang Kulit; understanding and traditional Asian theater elements contribute to the MU8TH-IVb-h-
2. Kabuki; application of musical skills with appropriate pitch, performance of the 3
3. Peking Opera. related to selected rhythm, expression, and musical production;
traditional Asian theater style 4. identifies the instruments
that accompany Kabuki, MU8TH-IVa-g-
Wayang Kulit, Peking 4
Opera;
5. explains the distinguishing MU8TH-IVa-g-
characteristics of
representative Asian 5
musical theater;
6. describe how a specific
idea or story is MU8TH-IVa-g-
communicated through
6
music in a particular Asian
musical theater;
7. creates/improvises
appropriate sound, music,
gesture, movements,
props and costume for MU8TH-IVb-h-
performance of a chosen 7
Asian traditional musical
and theatrical form;
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE LEARNING
MATERIALS
c) Oratorio and chorale demonstrates performs selected songs from 5. describes musical elements of *Edukasyong
d) Composers: Johann understanding of Medieval, renaissance and given Medieval, Renaissance Pangkatawan,
Sebastian Bach and characteristic features of baroque periods and Baroque music; Kalusugan at
George Friedrich the Medieval, Renaissance MU9MRB -Ib-f- Musika IV.
Handel and Baroque period music a) Chants; 5 Sacdalan,
b) Madrigals; Guinevere I. Et
c) excerpts from al, 1999. pp.274-
oratorio; 283
d) chorales; 6. explores other arts and media *Edukasyong
e) troubadour. that portray Medieval, Pangkatawan,
Renaissance and Baroque Kalusugan at
elements; MU9MRB -Ib-f- Musika IV.
6 Sacdalan,
Guinevere I. Et
al, 1999. pp.274-
286
7. improvises appropriate
accompaniment to given MU9MRB -Ib-d-
Medieval and Renaissance 7
songs;
8. create and or perform songs MU9MRB-Ib-h-
in Gregorian and troubadour
8
styles;
9. play simple melodies of a *Edukasyong
chorale and provide Pangkatawan,
accompaniment. MU9MRB-Ib-h- Kalusugan at
Musika IV.
9
Sacdalan,
Guinevere I. Et
al, 1999. pp.275
SECOND QUARTER
MUSIC OF THE The Learner… The Learner... The Learner...
CLASSICAL PERIOD 1. narrates the life and works of
(1750-1820) demonstrates sings and performs themes of classical composers after video MU9CL-IIa-f-1
understanding of symphonies and other and movie showing;
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CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE LEARNING
MATERIALS
a) Historical and characteristic features of instrumental forms 2. relates Classical music to its *Edukasyong
cultural background; Classical period music historical and cultural Pangkatawan,
b) Sonata, sonata background; Kalusugan at
allegro form, demonstrates sings and performs themes of MU9CL-IIa-f-2 Musika IV.
concerto, understanding of symphonies and other Sacdalan,
symphony; characteristic features of instrumental forms Guinevere I. Et
c) Composers: Franz Classical period music al, 1999. pp.261
Josef Haydn, 3. explains the performance *Edukasyong
Wolfgang Amadeus practice (setting, composition, Pangkatawan,
Mozart, and Ludwig role of composers/performers, Kalusugan at
Classical
van Beethoven. and audience) during MU9CL-IIa-f-3 Musika IV.
period; Sacdalan,
Guinevere I. Et
al, 1999. pp.261-
272
4. listens perceptively to *Edukasyong
selected Classical period Pangkatawan,
music; Kalusugan at
MU9CL-IIb-g-4 Musika IV.
Sacdalan,
Guinevere I. Et
al, 1999. pp.263-
264
5. describes musical elements of *Edukasyong
given Classical period pieces; Pangkatawan,
MU9CL-IIb-g-5 Kalusugan at
Musika IV.
Sacdalan,
Guinevere I. Et al,
1999. pp.261-272
6. analyzes sonata allegro form; *Edukasyong
Pangkatawan,
MU9CL-IIe-h-6 Kalusugan at
Musika IV.
Sacdalan,
Guinevere I. Et
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CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE LEARNING
MATERIALS
MUSIC OF THE demonstrates sings and performs themes of al, 1999. pp.262-
CLASSICAL PERIOD understanding of symphonies and other 263
(1750-1820) characteristic features of instrumental forms 7. sings themes or melodic
Classical period music fragments of given Classical MU9CL-IIb-h-7
a) Historical and period pieces;
cultural background; 8. explores other arts and media *Edukasyong
b) Sonata, sonata that portrays Classical Pangkatawan,
allegro form, elements; Kalusugan at
concerto, MU9CL-IIb-h-8 Musika IV.
symphony; Sacdalan,
c) Composers: Franz Guinevere I. Et
Josef Haydn, al, 1999. pp.268-
Wolfgang Amadeus 269
Mozart, and Ludwig 9. improvises appropriate
van Beethoven. accompaniment to given short MU9CL-IIe-9
and simple Classical pieces.
THIRD QUARTER
The Learner… The Learner... The Learner...
INSTRUMENTAL MUSIC 1. narrates the life and works of MU9RO-IIIa-h-
OF THE ROMANTIC demonstrates sings and performs themes of romantic composers after
1
PERIOD (1820-1900) understanding of selected instrumental pieces video and movie showing;
characteristic features of 2. relates Romantic period music *Edukasyong
a) Historical and instrumental Romantic to its historical and cultural Pangkatawan,
cultural background; music background; Kalusugan at
b) Program music; MU9RO-IIIa-2 Musika IV.
c) Piano music; Sacdalan,
d) Composers: Frederic Guinevere I. Et
Chopin, Peter Illych al, 1999. pp.222
Tchaikovsky, Franz 3. explains the performance *Edukasyong
Liszt, and Camille practice (setting, composition, Pangkatawan,
Saint-Saens. role of composers/performers, MU9RO-IIIb-h- Kalusugan at
and audience) during the Musika IV.
3
Romantic period; Sacdalan,
Guinevere I. Et
al, 1999. pp.222-
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CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE LEARNING
MATERIALS
INSTRUMENTAL MUSIC demonstrates sings and performs themes of 229
OF THE ROMANTIC understanding of selected instrumental pieces
4. listens perceptively to *Edukasyong
PERIOD (1820-1900) characteristic features of
selected Romantic period Pangkatawan,
instrumental Romantic
music ; Kalusugan at
a) Historical and music MU9RO-IIIb-h-
Musika IV.
cultural background; 4
Sacdalan,
b) Program music;
Guinevere I. Et
c) Piano music;
al, 1999. pp.226
d) Composers: Frederic
5. describes musical elements of *Edukasyong
Chopin, Peter Illych
given Romantic period pieces; Pangkatawan,
Tchaikovsky, Franz
Kalusugan at
Liszt, and Camille
MU9RO-IIIb-h- Musika IV.
Saint-Saens.
5 Sacdalan,
Guinevere I. Et
al, 1999. pp.222-
229, 234-242
6. sings themes or melodic *Edukasyong
fragments of given Romantic Pangkatawan,
period pieces; MU9RO-IIIe-h- Kalusugan at
Musika IV.
6
Sacdalan,
Guinevere I. Et
al, 1999. pp.228
7. explores other arts and media *Edukasyong
that portray Romantic period Pangkatawan,
elements; Kalusugan at
MU9RO-IIIc-h- Musika IV.
7 Sacdalan,
Guinevere I. Et
al, 1999. pp.229-
233
8. improvises appropriate
accompaniment to given short MU9RO-IIIc-h-
and simple Romantic period
8
pieces.
MUSIC - GRADE 10
TH
MUSIC OF THE 20 CENTURY
background
b) Composer: Schoenberg
C. Others
a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND POPULAR The Learner… The Learner... The Learner...
MUSIC
demonstrates understanding performs vocal and dance 1. observes dance styles,
1. Historical and (cultural of characteristic features of forms of Afro-Latin American instruments, and rhythms of
background of African Afro-Latin American music music and selections of Afro Latin American and MU10AP-IIa-g-
and Latin American music and Popular music Popular music popular music through video, 1
2. Background of Popular movies and live
music performances;
3. African music 2. describes the historical and
a. Rhythms: Maracatu cultural background of Afro- MU10AP-IIa-g-
b. Vocal forms: blues, Latin American and popular 2
soul, spiritual, call music;
THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
PHILIPPINE MUSIC 1. listens perceptively to MU10CM-IIIa-
(Minimum of 4 composers for demonstrates understanding sings contemporary songs excerpts of major
h-1
each) of characteristic features of Contemporary works;
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K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
1. Traditional contemporary music sings contemporary songs
Composers demonstrates understanding
2. describes characteristics of MU10CM-IIIa-
of characteristic features of
traditional and new music; h-2
a. Lucio San Pedro contemporary music gives
b. Antonino 3. a brief biography of *Edukasyong
selected Contemporary Pangkatawan,
Buenaventura
Philippine composer/s ; Kalusugan at
c. Antonio Molina MU10CM-IIIc-
Musika. Sacdalan,
d. Alfredo Buenaventura g-3
e. Rodolfo Cornejo Guinevere IV. et
f. Bernardino Custodio al, 1999. pp.209-
220, 247-259
g. Antonio Buencamino
h. Hilarion Rubio 4. sings selections of
i. Rosendo Santos Contemporary music with MU10CM-IIIb-
j. Ryan Cayabyab appropriate pitch, rhythm, h-4
style, and expression;
2. New Music 5. explores ways of creating MU10CM-IIId-
sounds on a variety of
e-5
a. Chino Toledo sources;
b. Ramon Santos 6. improvises simple
c. Jose Maceda vocal/instrumental MU10CM-IIId-
d. Manuel Maramba accompaniments to selected e-5
e. Lucresia Kasilag songs;
f. Francisco Feliciano
g. Jerry Dadap 7. create a musical on the life
h. Jonas Baes of a selected contemporary MU10CM-IIIg-
Philippine composer; h-7
3. Song Composer
a. Constancio de
Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.
K to 12 BASIC EDUCATION CURRICULUM
CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING
STANDARDS MATERIALS
h. Leopoldo Silos
i. Santiago Suarez
FOURTH QUARTER
th st
20 and 21 century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or story
1. demonstrates 1. performs selections in a musical play is MU10MM-IIIa-
1. OPERA understanding of from musical plays, presented in a live h-1
a) La Loba Negra characteristic ballet, opera in a performance or video;
th
b) Noli Me Tangere features of 20 and satisfactory level of 2. explains how theatrical
st
c) El Filibusterismo 21 century opera performance. elements in a selected part of MU10MM-IIIa-
musical play, ballet a musical play are combined
2. BALLET and other h-2
2. creates a musical with music and media to
a) Lola Basyang multimedia forms. work using media & achieve certain effects;
b) Rama Hari 2. demonstrates technology. 3. sings selections from musical MU10MM-IIIc-
plays and opera expressively; h-3
3. MUSICAL PLAY understanding of 4. creates / improvises
a) Andres Bonifacio the relationship
appropriate sounds, music,
b) Atang among music,
gestures,movements, and MU10MM-IIIc-
c) Katy technology, and
costume using media and h-4
d) Florante at Laura media.
technology for a selected
e) Daragang
part of a musical play;
Magayon
5. present an excerpt from a
f) Noli Me Tangere th st
20 or 21 century Philippine
g) El Filibusterismo MU10MM-IIIg-
musical and highlight its
h) Magsimula ka h-5
similarities and differences to
other western musical play.
Foxtrot A ballroom dance with uneven rhythm of alternating slow and quick steps.
Fugue A contrapuntal composition in which a short melody or phrase is introduced by one part and successively taken up by others; developed by the
interweaving of the various parts.
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K to 12 BASIC EDUCATION CURRICULUM
GLOSSARY
Gamelan Indonesian musical ensemble featuring a variety of metallophones (instruments made of metal and played by hitting or striking).
Measure the space between two barlines, containing a fixed number of beats
Medieval Term that refers to the “Middle Ages”.
Melody the line of music that moves up and down in succession; series of single tones that add up to a recognizable whole
Melodic Contour the upward and downward direction of the notes
Melodic Pattern the combination of repeated, similar and contrasting figures, motives and phrases
Melodic Ostinato group of tones used to accompany a tone or a melody
Membranophone Any musical instrument that produces sound primarily by a vibrating stretched membrane.
Meter organization of beats into regular groups
Mezzo piano (mp) moderately soft
Mezzo forte (mf) moderately loud
Moderato moderate tempo
Monophonic Texture single melodic line without accompaniment
Motive fragment of a theme, or short musical idea which is developed within a composition; refers to a short melody sung or played which can identify
a musical composition
Musical Texture refers to the relationship of melodic and harmonic elements in music which produces qualities of thickness and thinness, heaviness or lightness
of a melody or sound produced
Musikong Bumbong An instrumental marching band that uses bamboo instruments.
Natural Sign symbol used to cancel a previous sharp or flat sign
Notation system of writing down music so that specific pitches and rhythms can be conveyed
Note symbol used to indicate pitch
Opera A dramatic work in one or more acts set to music for singers and instrumentalists.
Oratorio A large-scale musical work for orchestra and voices, usually narrative and typically on a sacred theme.
Ostinato motive or phrase that is repeated persistently at the same pitch
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K to 12 BASIC EDUCATION CURRICULUM
GLOSSARY
Pangkat Kawayan An instrumental ensemble that uses different kinds of bamboo instruments.
Pasa doble A fast-paced ballroom dance based on the Latin American style of marching.
Peking Opera Traditional Chinese theater performance.
Pentatonic Scale a five-tone scale, used in folk music and music of the Far East
Phrase musical statements that express meaning or ideas
Piano (p) soft
Pianissimo (pp) very soft; as softly as possible
Pinpeat A Cambodian instrumental ensemble.
Piphat A Thai instrumental ensemble which features wind and percussion instruments.
Pitch relative highness or lowness of a sound
Pitch Range distance between the highest and lowest tones that a given voice or instrument can produce
Polyphonic Texture refers to a musical composition with two or more independent melodies sung or played to create a harmonious effect
Program music Music that is intended to evoke images or to convey the impression of events.
Ragtime A kind of music which evolved with syncopated melodic line and regularly accented accompaniment.
Reggae A style of music originally from Jamaica and popularized in the 1960s.
Renaissance Term that refers to the revival of European art under the influence of Classical Models.
Rest a symbol that indicates the duration of silence in music
Rhythm ordered flow of music through time; the pattern of durations of notes and silences in music
Rhythmic Pattern combinations of long and short sounds, notes and rests
Ritardando becoming slower
Rock and roll Popular dance music from the 1950s characterized by heavy beats and simple melodies.
Rondalla An instrumental ensemble that usually consists of musicians playing banduria, octavina, laud, guitar and double bass.
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K to 12 BASIC EDUCATION CURRICULUM
GLOSSARY
Round form of music wherein a melody change from a single-voiced texture to a many-voiced texture; each voice enters in succession; the effect is
that of weaving a new and richer rhythmic and harmonic texture
Rumba A rhythmic dance with Spanish and African elements originally from Cuba.
Sacred music Music that promotes devotion and faith.
Sarsuela A musical stage performance popularized in the Philippines during the Spanish colonization.
Saung gauk An arched harp used in Myanmar.
Scale series of pitches arranged in ascending or descending order
Secular music Music for non-religious purposes.
Sharp Sign symbol that notates the pitch of a note a half step higher
Sonata A composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form.
Sonata-allegro form th
A large-scale musical structure popularly used during the middle of the 18 century.
Soprano female voice of high range
Soul Musical style that incorporates rhythm and blues and gospel music popularized by African-American people.
Sound vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the brain
Staff a set of five lines and four spaces where notes are positioned or placed
Symphony An elaborate musical composition for full orchestra, typically in four movements, at least one of which is in sonata form.
Tango A ballroom dance originating from Buenos Aires, characterized by marked rhythms and postures and abrupt pauses.
Tempo rate of speed in music
Tenor male voice of high range
Timbre quality of sound that distinguishes one instrument or one voice from another
Time Signature two numbers, one above the other, appearing at the beginning of a staff or the start of a piece, indicating the meter of a piece; the number
above refers to the number of beats per measure and the number below represents the kind of note getting one beat.
Tone sound that has a definite pitch or frequency
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K to 12 BASIC EDUCATION CURRICULUM
GLOSSARY
Triad the most basic type of chord, consisting of three alternate tones of the scale e.g. do, mi, so
Troubadour Street musicians singing of love during the Medieval Period.
Unison performance of a single melodic line by more than one instrument or voice a t the same pitch
Wayang Kulit Indonesian puppet shadow theater.
Sample: MU7FT-IVe-h-6
LEGEND SAMPLE
DOMAIN/ COMPONENT CODE
Learning Area and
Strand/ Subject or Music Rhythm RH
Specialization Melody ME
First Entry MU7 Form FO
Grade Level Grade 7 Timbre TB
Dynamics DY
Tempo TP
Texture TX
Uppercase Letter/s Domain/Content/ Theatrical Forms FT Harmony HA
Component/ Topic Music of Luzon LU
Music of Cordillera, Mindoro, Palawan, and the LV
- Visayas
Music of Mindanao MN
Roman Numeral Quarter Fourth Quarter IV
Theatrical Forms FT
*Zero if no specific quarter Music of southeast asia SE
Music of South Asia and Middle East WS
Lowercase Letter/s Traditional Asian Theater Music TH
*Put a hyphen (-) in between Week Week five to eight e-h Music of the medieval period MRB
letters to indicate more than a Music of the classical period CL
specific week
Instrumental music of the romantic period RO
Vocal Music of the Romantic Period OP
th
Describes how a specific 2O Century TC
idea or story is Afro-latin and popular music AP
Arabic Number Competency communicated through 6 Contemporary Philippine music CM
music in a particular Multimedia forms MM
Philippine musical theater
Abeles, Harold, Hoffer, Charles and Klotman, Robert. Foundations of Music Education, (New York: Schirmer Books, 1984)
Armstrong, Thomas. "American Institute for Learning and Human Development." Multiple Intelligences. 2010.
http://www.thomasarmstrong.com/multiple_intelligences.htm . Bruner, Jerome, The Process of Education. (Cambridge, Mass.: Harvard University Press, 1977)
Bureau of Elementary Education, 2002 Basic Education Curriculum. (Pasig City: Department of Education, 2002)
Bureau of Elementary Education, 2002 Philippine Elementary Learning Competencies. (Pasig City: Department of Education, 2002)
Bureau of Secondary Education, Department of Education. Basic Education Curriculum. Pasig City, 2002.
Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies New Secondary Education Curriculum. Pasig City, 1991.
Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies Philippine Secondary Schools Learning Competencies.
Pasig City, 1998.
Bureau of Secondary Education, Department of Education. Secondary Education Curriculum. Pasig City, 2010.
Gardner, Howard, Multiple Intelligences. (New York: Basic Books Inc., 1991)
Miller, Cleve. "Performance-Based Learning (Mexico: Cambridge University Press, 2010)." Teaching Business English (audio blog), December 16, 2010. performance-based-
learning.html.
Reimer, Bennett. A Philosophy of Music Education Advancing the Vision. 1991 ed. (Aesthetic Education. Upper Saddle River, New Jersey: Prentice Hall, 2003).
Reimer, Bennet, Journal of Aesthetic Education, (USA: University of Illinois Press, 1991)
Thomas, Ronald, A Structure for Music Education. (Bardonia, N.Y.: Media Materials Inc., 1970)
Thomas, Ronald B. MMCP Synthesis: A Structure for Music Education. (Bardonia, N.Y: Sponsored by the U.S. Office of Education Media Materials, 1970).
Wade, Bonnie C., Thinking Musically: Experiencing Music, Expressing Culture , (England: Oxford University Press, 2003)
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